Frank Otto
Forum Replies Created
-
The type of lamp is a “tungsten – hallogen” . also commonly refered to as a tungsten, hallogen or quartz lamp.
Tungsten refers to the filliment – a threaded material made of a tungsten alloy.
Hallogen refers to the gas used in the globe. Other types are Sodium, Mercury, Neon and Xenon.
Quartz refers to the glass borosillicate composition of the globe itself.
What you are looking for is a lamp that burns at 120v, 3200K (Kelvin-the color temp. measurement). The DYS globe used by the fixture you’re looking at is a Tungsten-Hallogen, Quartz globe – just what you want.
Cheers,
Frank Otto
-
I usually keep a hard case (ex pro-makeup case with tiered drawers – think upscale tackle box) on a job site with four of each type:
FEV – 150w
FKW – 300w
DYS – 600w
FAD – 650w
FRK – 650w
EGT – 1000w
DXW – 1000w
FCH – 1000w
FHM – 1000w frosted
CYX – 2000w
FEY – 2000wI had the case available so it worked – I wouldn’t go with a case that has a lot of divided space – the case I use has six 2″x12″x8″ drawers-no partitions.
The worst case scenario for me was losing three FAD’s and five FHM’s on one shoot – combination of wind, rain and sfx.
Cheers,
Frank Otto
-
I had a brief run of bad globes from Ushio in 2003. Supplier (4Wall) noted some other users also had issues and accepted them back, re-shipped Osram/Sylvania.
I’ve orderd Ushio since then and have had no issues – their rep assured me the globes I’d gotten in 2003 had problems with the borosillicate base they made the glass from and they since changed vendors.
Cheers,
Frank Otto
-
Yes…it’s the stuff of urban legend.
Sweeps over, eh Dave? I have no excuse – I’ve got a full plate of promos.
And yet, here we are…
Cheers,
Frank Otto
-
At long last it can be revealed how we used to do it at CBS.
Back in the day we used to follow one car with a video truck and drop off the 2″ Quad to a runner as the truck drove down pit road.
Creative cutting of the live signal kept the truck out of the picture. But in 1968 “NEMO 2a” won Daytona – the truck got accidently ahead of Cale Yarbrough – luckilly the shot was from the truck as Cale crossed the line so the viewers at home didn’t know…
(is it April 1 yet?)
Cheers,
Frank Otto
-
Based on the first example – I’d say the lights are set to the side, 2 or 3 -to – 1 ratio…camera left side light is set back behind at the 10 o’clock position( dead on is six o’clock – behind is 12 o’clock) and also causes a rim light effect on the shoulder.
Camera right light is mostly side light fill. There’s also the possibility that the c.r. light was cut with a flag to keep the spill off the forehead – accenting the eye below the brow and cheek. Remember that the effect is enhanced by shooting in “limbo” meaning that the subject appears to be floating in black – no other lighting in the background.
Hard to tell if any Photoshopping was done to enhance the shadow…certain types of negative film produce a higher contrast ratio that may have something more than pushing the lighting to get the look
The second example you give is too Photoshopped to be an accurate idea of the lighting used. It’s that portrait on velvet – sharply defined highlight look that is very hard to recreate with video. Guessing, the orgininal was lit with a soft light low and on the left side about 8 o’clock.
Cheers,
Frank Otto
-
Yup….Place a standard white bedsheet between the camera and the subject and backlight the subject. It will cast a “cameo” type of shadow that you can easilly see on the other side.
Cheers,
Frank Otto
-
Ditto…
There is always a market for knowledge. However, it is not one size fits all.
There are plenty of self-help, self education books and websites out there. Being as informed and educated on a particular (or many) craft(s) an understandable goal and these guides/books/sites can do nothing but help.
As you’re aware, it’s about getting the ol’ foot in the door and using that knowledge to keep the door open. I’ve been in the industry for 52.5 of my 53 years – born into the talent side but had to connive my way into the technical side. My experiences are what I had to do to get where I am now but my story is unique…had I been able to afford USC or Cal Arts my contacts and oportunities would have been vastly different. And my education would probably have been the less for it.
If you have the willpower to write a book, by all means do it – I’d read it just because your experiences are different than mine…I’ve got a few more years to expand my career.
Cheers,
Frank Otto
-
Sounds like it went well. The ol’ second guessing thing is sooo common…many times after wasting time, I go back to the first set up.
But you’ve seen how it works. Now that you have the concept you can play a bit – add gels, add rim, etc. Don’t forget the sheet trick.
Isn’t lighting fun? It’s where the art is.
Cheers,
Frank Otto
-
Generally now, the microwave process used is COFDM, (Coded Orthogonal Frequency Division Multiplexing ) a digital scheme that virtualy eliminates the phenominom know as multiplexing. Once you get a signal lock it stays locked with out ghosting, fade and fall-off. Especially useful in arenas, convention halls and the like.
As Dave notes…this stuff isn’t consumer or even pro-sumer. It will set you back 8 – to – 20k$ per link including secondary control links for iris, ped, gains, return video and p.l.
Even with all the advances, two weeks ago NASCAR couldn’t get the in-car working – the helicopter used as the main recieve unit was grounded due to weather below min. safe ceiling. Rumor is that the in-car guys are looking at using an “aerostat” (a mini blimp with a platform under it) tethered to the ground on by a 900′ cable.
Cheers,
Frank Otto